23 found
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  1.  14
    Kant's Aesthetic Epistemology: Form and World.Fiona Hughes - 2007 - Edinburgh University Press.
    Drawing on resources from both the Analytical and Continental traditions, Form and World argues that a comprehension of Kant's aesthetics is necessary for grasping the scope and force of his epistemology. Fiona Hughes draws on phenomenological and aesthetic resources to bring out the continuing relevance of Kant's project. One of the difficulties faced in reading the Critique of Pure Reason is finding a way of reading the text as one continuous discussion. This book offers a reading at each stage of (...)
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  2.  27
    Relief and the Structure of Intentions in Late Palaeolithic Cave Art.Fiona Hughes - 2021 - Journal of Aesthetics and Art Criticism 79 (3):285-300.
    Artworks at Lascaux and other late Palaeolithic caves integrate geological features or “relief” of the cave wall in a way that suggests a symbiotic relation between nature and culture. I argue this qualifies as “receptivity to a situation,” which is neither fully active nor merely passive and emerges as a necessary element of the intentions made apparent by such cave art. I argue against prominent interpretations of cave art, including the shamanist account and propose a structural interpretation attentive to particular (...)
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  3. A Passivity Prior to Passive and Active: Merleau-Ponty's Re-reading of the Freudian Unconscious and Looking at Lascaux.Fiona Hughes - 2013 - Mind 122 (486):fzt061.
    Merleau-Ponty’s understanding of ‘passivity’ is a key to his account of perception. For Merleau-Ponty, perception is the way in which we are involved in the world, and it is on perception that the functions of understanding, reason, and reflection ultimately rest. While in his Phenomenology of Perception it is already clear that passive and active are intertwined, from a series of lectures he gave in 1954–5 we learn that inauguration or ‘institution’ arises out of a passivity that is not merely (...)
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  4.  48
    Reversibility and chiasm: false equivalents? An alternative approach to understanding difference in Merleau-Ponty’s late philosophy.Fiona Hughes - 2017 - British Journal for the History of Philosophy 25 (2):356-379.
    The chiasm is usually considered the key notion for Merleau-Ponty’s later philosophy. I argue against a common conclusion, namely that ‘the chiasm’ is equivalent to ‘reversibility’. Even when the two terms are not taken as interchangeable, the precise nature of their relation has not been adequately established. Focusing exclusively on ‘reversibility’ has implications for a range of philosophical issues, including relations between self and other. The danger of substituting one term for the other is that existential relations are construed as (...)
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  5. On aesthetic judgement and our relation to nature: Kant's concept of purposiveness.Fiona Hughes - 2006 - Inquiry: An Interdisciplinary Journal of Philosophy 49 (6):547-572.
    I offer a critical reconstruction of Kant's thesis that aesthetic judgement is founded on the principle of the purposiveness of nature. This has been taken as equivalent to the claim that aesthetics is directly linked to the systematicity of nature in its empirical laws. I take issue both with Henry Allison, who seeks to marginalize this claim, and with Avner Baz, who highlights it in order to argue that Kant's aesthetics are merely instrumental for his epistemology. My solution is that (...)
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  6.  28
    Aesthetics and Cognition in Kant's Critical Philosophy edited by Rebecca Kukla.Fiona Hughes - unknown
  7.  23
    Aesthetics and Cognition in Kant's Critical Philosophy edited by Rebecca Kukla.Fiona Hughes - 2009 - European Journal of Philosophy 17 (3):455-460.
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  8.  9
    Forgetful all too Forgetful: Nietzsche and the Question of Measure.Fiona Hughes - 1998 - Journal of the British Society for Phenomenology 29 (3):252-267.
  9.  17
    Feeling the Life of the Mind: Mere Judging, Feeling, and Judgment.Fiona Hughes - 2017 - In Matthew Altman (ed.), The Palgrave Kant Handbook. Springer. pp. 381-405.
    Hughes argues that in the Analytic of the Beautiful Kant introduces an account of feeling that operates as a non-cognitive and yet reflective form of awareness. The range of modes of awareness – which hitherto comprised sensible intuitions, concepts of understanding and conceptually determining judgments, but also ideas and principles of reason – is extended to include a new distinctively aesthetic type of judgments that have feeling as their ground. Crucially, Kant views this development as the condition of the integrity (...)
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  10.  32
    Kant's Critique of Judgment: A Reader's Guide.Fiona Hughes - 2009 - Continuum.
    Context -- Overview of themes -- Reading the text -- Reception and influence.
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  11.  56
    Kant’s Phenomenological Reduction?Fiona Hughes - 2006 - Études Phénoménologiques 22 (43-44):163-192.
  12. ‘Making-remote’ as an alternative to realism in late Palaeolithic cave art: Representations of the human at the threshold of appearance.Fiona Hughes - forthcoming - British Journal of Aesthetics:ayae011.
    I initiate the concept of ‘making-remote’ to capture various strategies for representing the human in late Palaeolithic cave art. Drawing out the role of remoteness within phenomenological accounts of perception (Husserl and Merleau-Ponty), as well as offering an analysis of a wide range of archaeological evidence, I argue that realism does not capture the specificity of these human representations. In contrast to naturalistic animal representations, humans are consistently represented with a high degree of abstraction e.g., schematisation and abbreviation. I also (...)
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  13.  24
    Nietzsche's Janus Perceptions and the Construction of Values.Fiona Hughes - 2002 - Journal of the British Society for Phenomenology 33 (2):116-137.
  14.  23
    Taste as Productive Mimesis.Fiona Hughes - 2006 - Journal of the British Society for Phenomenology 37 (3):308-326.
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  15.  8
    The Playful Negotiation of Interests: Kant in Conversation with Fried and Winnicott.Fiona Hughes - 2023 - In Larissa Berger (ed.), Disinterested Pleasure and Beauty: Perspectives from Kantian and Contemporary Aesthetics. Boston: De Gruyter. pp. 183-210.
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  16.  24
    The Reader's Guide to Kant's Critique of Judgement.Fiona Hughes - unknown
  17.  6
    The Role of the Concepts of Reflexion and Harmonie in Kant's Critical Philosophy.Fiona Hughes - 1993
  18.  12
    The Temporality of Contemporaneity and Contemporary Art: Kant, Kentridge and Cave Art as Elective Contemporaries.Fiona Hughes - 2021 - Kantian Review 26 (4):583-602.
    This article contributes to understanding of Contemporary Art and of the temporality of contemporaneity, along with the philosophy of time more generally. I propose a diachronic contemporaneity over time gaps – elective contemporaneity – through examination of Kant’s Transcendental Aesthetic, the Third Analogy and the concept of ‘following’ among artistic geniuses; diachronic recognition and disjunctive synchronicity discoverable in William Kentridge’s multimedia artworks; as well as non-chronological temporal implications of superimpositions in late Palaeolithic cave art suggesting ‘graphic respect’. Elective contemporaneity shows (...)
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  19.  6
    The Technic of Nature: What is Involved in Judging?Fiona Hughes - 1998 - In Herman Parret (ed.), Kants Ästhetik · Kant's Aesthetics · L'esthétique de Kant. New York: De Gruyter. pp. 176-191.
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  20.  77
    Kant's Aesthetic Epistemology. [REVIEW]Fiona Hughes - 2010 - Kantian Review 14 (2):155.
    Drawing on resources from both the analytical and continental traditions, this book argues that a comprehension of Immanuel Kant's aesthetics is necessary for grasping the scope and force of his epistemology. It draws on phenomenological and aesthetic resources to bring out the continuing relevance of Kant's project. One of the difficulties faced in reading ‘The Critique of Pure Reason’ is finding a way of reading the text as one continuous discussion. This book offers a reading at each stage of Kant's (...)
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  21.  15
    Immanuel Kant, Lectures on Logic, translated and edited by J Michael Young, Cambridge: Cambridge University Press, 1992, pp xxxii + 695, Hb £60Immanuel Kant, Theoretical Writings, 1755-1770, translated and edited by David Walford in collaboration with Ralf Meerbote, Cambridge: Cambridge University Press, 1992, pp lxxxi + 543, Hb £55. [REVIEW]Fiona Hughes - 1995 - Hegel Bulletin 16 (2):14-18.
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  22.  87
    Review: Kukla, Aesthetics and cognition in Kant's critical philosophy. [REVIEW]Fiona Hughes - 2009 - European Journal of Philosophy 17 (3):455-460.
  23.  17
    Review of Malcolm Budd, The Aesthetic Appreciation of Nature[REVIEW]Fiona Hughes - 2004 - Notre Dame Philosophical Reviews 2004 (6).
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